Deconstruction and Demythologization in the “New” Musicology of Finland
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Abstract
The distrust of meta-narratives and of the teleological model of history on the part of postmodernism has cast under discredit what had seemed to be inviolable judgments and opinions. An attempt to reevaluate the music history of Finland has been made by representatives of “new” musicology. A group of researchers from the Sibelius Academy in Helsinki – Vesa Kurkela, Markus Mantere, Olli Heikkinen and Saijaleena Rantanen in 2011–2014 implemented the scholarly project “Rethinking ‘Finnish’ Music History. Transnational Construction of Musical Life in Finland from the 1870s until the 1920s.” Its aim was to reevaluate the Finnish history of music.
The ideology and methodology of the “new” musicology in Finland is based on the conception of transnationalism, in relation to which musical life in Finland during the period of autonomy (from its joining with Russia in 1809 until the acquirement of its national independence in late 1917) developed under the ideas and impulses of continental Europe, the main leaders of which were, for the most part, Germany and Sweden. The decanonization and demythologization of the history of Finnish music is carried out by means of its reconstruction by means of use of methods of micro-history and brings out to the forefront a cast of characters that is not involved in this history within the paradigm of the traditional musical historiography of Finland. Instead of a history of Finnish music, a history of music of Finland is offered as a dynamic process, propelled by the desire to preserve international cultural contacts, the struggle for equality between the Finnish and Swedish languages and the formation of Finnish and Swedish identities in art within one country in the conditions of competition between political parties and a consistently conducted russification of Finland.
Keywords: Finland, “new” musicology, musical historiography, deconstruction, demythologization, micro-history,
trans-nationalism.
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